'Becoming Dracula: Volume 2' charts Bela Lugosi's rise in the USA

 

Review by Doug Gibson

There's an interesting photo of an advertisement in "Becoming Dracula: Volume 2," BearManor Media, 2021 (Amazon link). It's a 1928 ad for Listerine mouthwash, published in Photoplay magazine. On the right, inconspicuous, is definitely Bela Lugosi, already known as a Broadway, and feature film actor. Lugosi must have been paid for the subtle modeling act. Authors Gary D. Rhodes and Bill Kaffenberger wonder if there are other, still-yet-to-be-discovered ads with Lugosi of that era. I'd wager yes.

The photo underscores two essential truths about Bela Lugosi's three-plus decades in America. He was both -- by all rational assessments -- a successful actor, and a man nearly always in need of money. Even when he had achieved successful working-actor status in America, he made regular forays into the U.S. Hungarian stage scene, often taking the role of director or headlining for a night. These gigs were partially motivated by money, the authors surmise. 

"Becoming Dracula 2" is, like its predecessor, "Becoming Dracula: Volume One, the Early Years of Bela Lugosi," a marvelous mixture of dedicated research and enjoyable style. Through old media sources, many very obscure (long-gone U.S. Hungarian newspapers) and I'm sure not easy to track down, the authors chart Lugosi's slow but steady emergence as a respected stage and screen actor through the 1920s and early 1930s (up to "Dracula" film).

Bela may have arrived in America penniless, but he already had a reputation as an actor in Europe, and quickly found work in various Hungarian stage groups. The Hungarian presence in the United States was large enough to support acting troupes, and Hungarian U.S. newspapers were around to cover it all. Hungarian works, such as "The Tragedy of Man," were featured.

It wasn't long before Bela's skill made him an attractive option for English-speaking theaters. One of his more significant early plays was "The Red Poppy," which featured a popular star of the era, Estelle Winwood. Lugosi's scenes with Winwood were noted by critics.

Bela appeared on the stage with co-stars who would also achieve huge success, including Leslie Howard and Fredric March. One of his Broadway plays, "Arabesque," in which his character shared passionate scenes with actress Hortense Alden, shocked audiences. (See Lugosi and Alden below). 

Besides staying busy on the stage, the authors detail Lugosi's resumption of a movie career in the 1920s. His earlier films, from mid-size producers, include "Silent Command," "The Midnight Girl," "The Rejected Woman,'" and "Daughters Who Pay." Watching these films reveal an actor with strong screen presence, one who attracts the camera's attention, whether playing a hero or villain. 

Playing "Dracula" on Broadway led to Bela getting that defining film role. The journey to filming "Dracula" is interesting. Rhodes and Kaffenberger provide a detailed log of events, including Bela accompanying the play to the West Coast and its continued success there. A host of actors were considered. Lugosi gradually became a Los Angeles-based actor, a move that would last the rest of his life. The authors detail Bela's persistent efforts to retain his coveted role for the film, including shrewd marketing efforts. He made sure he was playing Count Dracula for a brief stint in Oakland as final casting was being set. 

Lugosi also parleyed his stage success with more films, including a contract with Fox for a few pre-Dracula films. He also had a major role, although inexplicably billed seventh, in "The Thirteenth Chair." It was for MGM, and directed by Tod Browning, who would helm "Dracula."

Despite being busy as an actor between the play, "Dracula," and the film version, Bela was still feeling financial pinches. The authors include correspondence from the actor where he expresses displeasure with his finances and career. Lugosi would find ways to make money providing Hungarian dialogue for U.S. films. He also appeared in short films, some of which are likely lost. He may have had some roles where his scenes were deleted.

The authors capably detail much of Lugosi's personal life, including two failed marriages and his well-known affair with screen star Clara Bow. One marriage, with an heiress named Beatrice Weeks, provides insight into the actor's mind. He was likely prone to impulsive decisions. He also had a traditional, for the time, Hungarian male perspective of marriage, with the man working and the woman serving. This led to a quick divorce with the independent Weeks, who was apparently also prone to impulsive acts.

"Becoming Dracula: Volume 2" is a joy for genre purists; as Volume 1 was. Volume 2 respects the first volume by starting with, Chapter 21. We revel in the minutia that Rhodes and Kaffenberger have painstakingly logged; the footnotes are dessert. There's 10,000 facts to learn that I have not included in this review. 

But the ease of reading and good-natured occasional observations from the authors also make this a wise choice for the casual reader. It provides a primer for how actors moved through the stage and film worlds 90-plus years ago. I think both "Becoming Dracula" volumes would be valuable texts for film classes. I'd love to see this writing style used for other famous actors, say Boris Karloff. The poring over of obscure, mostly forgotten publications -- a healthy percentage only saved with crumbling print -- guarantees that new scholarship is logged.

Becoming Dracula: Volume 1 excellent scholarship from authors Rhodes and Kaffenberger

 

Review by Doug Gibson

"Becoming Dracula: The Early Years of Bela Lugosi: Volume 1," (BearManor Media, 2021) is an absolutely superb targeted biography of Lugosi's first 38 years, from the son of a baker-turned-banker in Lugos, Hungary (now part of Romania) to late 1920, when the already acclaimed Budapest/Berlin thespian arrived penniless in New Orleans, La. 

Authors Gary Rhodes and Bill Kaffenberger have collaborated before on Lugosi books. They pored over well-over-century-old documents to unearth many new facts on Lugosi's early life and career, and they clarified and corrected information -- not completely accurate -- due to fanciful press interviews. Also corrected is some long-used incorrect information, including where Lugosi performed as Jesus Christ. He did not debut in The Passion in Debrecen, Hungary, but in Budapest in 1912.

Readers accustomed to thinking of the former Bela Blasko as only a creature of the night will enjoy the authors' account of Bela's steady rise through the Hungarian acting community. He started very small, gained stature in the provinces, playing a wide variety of roles. He did not get the call the first time he auditioned to perform in Budapest. But he gained great provincial acclaim as a talented, very handsome actor in cities such as Debrecen, and Szeged. After 1912, he became a frequent Budapest actor, with a very large fan base.

He performed in so many play adaptations. Here's just a few: Trilby, Romeo and Juliet, Anna Karenina, The Tragedy of Man, The Hunchback of Notre Dame, The Taming of the Shrew, Richard III, and, of course The Passion. He even eventually played -- in a film -- a "vampire," but it was not the undead type. It was the mortal, devious seducer type.

As the authors note, he did not always play the lead, or even a supporting role. Hungary's thespian community was one where actors played multiple types of roles, even extras. The authors hypothesize that some of Bela's roles may have been as obscure as a face in a crowd. But he did play many major roles, and the scores of newspaper articles gathered by the authors underscore his popularity and notoriety. He was at times criticized for overacting, or over-emoting.

The authors describe a pre-World War I Budapest that must have been thrilling for those within and interested in the arts and politics. The cafes of the city were places for passionate discussions of the arts and politics. Reading Rhodes and Kaffenberger makes me yearn to go back in time just to traverse the Budapest of that era, enter a cafe, and listen to a verbose and very opinionated Lugosi hold court on the arts and politics.

World War I stymied the arts for a while, and also tempered the fervor of many Hungarians who fought for Germany, including the officer Lugosi, who was wounded. According to the authors, he convinced doctors he was mentally unstable, and needed a discharge. Lugosi may have suffered from what we now know as Post Traumatic Stress Disorder. He did have lasting physical wounds. As the authors note, he had a lifelong empathy with veterans of war.

Lugosi resumed acting on the stage, and also moved to film acting, initially under the name Arisztid Olt. The authors merit respect for tracking down reviews and plots of many Lugosi Hungarian films. Only a fragment of one film exists today. 

Lugosi, long a matinee idol, also married for the first time, to Ilona Szmik, the daughter of a bank attorney. 

Lugosi became politically radicalized after the war. He supported communist government leaders. He was a communist. When one leader was pushed out by a more extreme communist government led by Bela Kun -- who was a puppet of Russia's Lenin -- Lugosi unwisely embraced Kun. He became a labor leader for the new government, in an era of increasing political violence. 

While Lugosi appears to have eschewed violence, the inevitable overthrow of Kun by a rightest alternative, and inevitable reprisals, placed Lugosi in real danger. He and his wife fled to Vienna. Soon afterwards, Ilona's parents, opposed to Lugosi's politics, persuaded their daughter to leave Vienna, return to Budapest and divorce him. In what seems unfair, the divorce was granted on claims that Bela had deserted Ilona

Bela could not chance a return to Budapest. Based on a mistaken-identity warrant, he was charged with serious crimes. The actual perpetrator had a similar name and was also an actor. The warrant was not withdrawn until the mid 1920s, with Lugosi already in the United States. 

Lugosi relocated to Berlin, and re-invigorated his career. As the authors note, post-World War I Berlin was a "Babylon" of sorts, with a culture of promiscuity (Lugosi enjoyed his share of that) and a more permissive attitude among the arts. Although not always the star, Lugosi was very active, appearing in more than a dozen German films. One, heavily edited for U.S. release from 1920, survives under the title "Daughter of the Night." It can be viewed on YouTube and other streaming services.

Why Lugosi abruptly left for the United States, without much funds, is open to debate. Perhaps he was still worried about being arrested? The authors suggest maybe a love affair went bad. More likely, they opine, is Lugosi was depressed after Ilona filed for divorce in June of 2020. 

I look forward to Part 2 of the book, slated for summer release. It's another must-have book from Rhodes and Kaffenberger. Due to the very large amount of new information unearthed through old-fashioned, shoe-leather reporting and research, I list it, along with "Vampire Over London: Bela Lugosi in Britain: Second Edition," by Frank Dello Stritto and Andi Brooks, as the two best targeted biographical works on Lugosi.

'Bela Lugosi In Person' captures the stage, personal appearance career of screen 'Dracula'

Review by Doug Gibson

Gary D. Rhodes has been writing books on Bela Lugosi for a generation but the last several years he's moved toward deconstructing the first film Dracula's career and life, doing some admirable research into various aspects of Lugosi's career. Several years ago, with Bill Kaffenberger, he wrote "No Traveler Returns: The Lost Years of Bela Lugosi," which detailed the barnstorming last half of the 1940s, a time filled with long vehicle journeys with wife, Lillian, summer stock, personal appearances and spook and magic shows, and one gold mine, "Abbott and Costello Meet Frankenstein." 

Rhodes' latest book, also with Kaffenberger, is an historical prequel to "No Traveler Returns." Bela Lugosi In Person" (BearManor Media, 2015) details the stage and appearances Lugosi made from his time as the vampire on Broadway to roughly the end of World War II. Except for a dry economic spell in 1937 and 1938 -- due more to a British influence at Universal rather than the usually blamed British horror ban, opines Rhodes -- Lugosi enjoyed mostly star status for roughly 15 years, and was a success economically, on stage and film. He may have been paid far less than screen rival Boris Karloff, but he worked hard, traveled extensively, and had consistent offers.

He was a star, and a gracious star, attentive to fans and charmingly tongue-in-cheek sinister with the media, particularly local media, which pursued him often during his long stage assignments. Lost in dusty old-media files and updated media websites are reviews of the many plays Lugosi entered, as star, or supporting role. Perhaps the strongest part of this wonderful book is the carefully detailed play and vaudeville histories of Lugosi's stage career. Some of the stage productions covered include "Murder At the Vanities," "Tovarich," "Stardust Calvacade," "Arsenic and Old Lace," and a successful 1943 revival of "Dracula" in 1943.

I particularly enjoyed the chapter of the "Dracula" revival. Interestingly, by 1943 the iconic play was already beginning to be seen as old-fashioned, hokey, melodramatic and even mirthful in spots, as some reviews say. Nevertheless, Lugosi still commanded high respect from nearly all the critics tallied in the book. The 1943 revival, with the claims of an outdated "Dracula," were similar to the same complaints that would be tagged almost a decade later, when Lugosi starred in a British production of the Dracula play, a period of history covered in detail by genre historians Frank Dello Stritto and Andi Brooks.

It was interesting to learn more about Lugosi's vaudevillian "Dracula" sketch that he did in theaters in 1933, as part of entertainment that included a feature film. That's certainly of era of theater entertainment that we may never see again. Also, the book notes that Lugosi was not as passive an actor as many have tagged him as. He didn't sit around waiting for offers. He tried to form a production company that would have featured him in a film version of "Cagliostro." It didn't pan out, but he regularly tried. Lugosi regularly pitched himself to New York agents for stage productions.

The book tends to confirm that the latter half of the 1930s was a time Lugosi harbored a better chance to move out of horror typecasting. He was in "Tovarich," did some personal appearances not as a horror star but an actor, had small parts in "Ninotchka" and "The Saint's Double Trouble" and roles as the heavy but not a monster in serials. But, that was also the period he earned the least, and lost his home. "Son of Frankenstein" in 1939 was a big hit and re-booted Bela in the horror genre with his portrayal of Igor. His career would pick up but there would be no more serious forays into non-horror.

Rhodes has a scholar's joy in uncovering new tidbits of history and he may have tracked down the origin of the lost Lugosi compilation film, "Lock Up Your Daughters," which played in Britain 55-plus years ago. Bela Lugosi In Person reveals a 1950 TV listing that notes an hour-long show called "Bela Lugosi and Murder," that had Lugosi hosting an edited version of an old Monogram film, likely "The Invisible Ghost." It may all be a coincidence, but the TV listing, with Lugosi hosting, sounds a lot like "Lock Up Your Daughters," which also boasted Lugosi as a host of sorts.

I could go on, but just buy the book. If you're a big Lugosi or genre fan, you'll delve with appetite into the details of the stage and other appearances. More general fans may skip by the many reviews but will learn a lot about a cinema icon as well as how hard an aging film star worked to maintain strong paydays in a tough, always competitive environment.

Bela Lugosi recites Poe's The Tell Tale Heart

By Doug Gibson

Above is a fantastic treat for horror film fans, a recording of the late, great Bela Lugosi reciting Edgar Allen Poe's "The Tell Tale Heart." It's brought courtesy of YouTube, posted by a cool-sounding person named "thezombiecheerleader," who provided great graphics to go along with Lugosi's recitation. Only several hundred people have surfed to this page; it deserves far more viewers.

The poster put together a great picture to add color to the story. According to Lugosi biographer Arthur Lennig in "The Immortal Count," the above tape was discovered in the past generation by cult film historian Lee Harris, who passed it onto former Cult Movies magazine editor Buddy Barnett, who now edits Mondo Cult. Anyway, Barnett shared it with Lennig.

Probably recorded in 1947 or by Lugosi with his then-agent Don Marlowe, it's not a professional recording, although conducted at WCAX in Burlington, Vt.. There is no background music or end pieces. My guess is that Lugosi was practicing for his spook show that would include his storytelling of the Poe tale. He does a great job, never losing a sinister edge and slowly, just like Poe's tale, losing his sanity and composure as the tale unfolds. The final 30 seconds of The Tell Tale Heart (and please watch it) are a marvelous as Lugosi exudes passion and fear as his voice breaks with emotion.

Lennig downplays the history of Lugosi's "The Tell Tale Heart" bookings, writing that the show appeared "in such obscure places that the dates it played remain lost and it quickly folded because of its meager drawing power."

That's not quite true. Further research, revealed in the new book, "No Traveler Returns: The Lost Years of Bela Lugosi," by Gary Don Rhodes and Bill Kaffenberger, confirm that "The Tell Tale Heart" show didn't last very long but it had significant performances, was accompanied with press coverage and media ads. The show opened in Rockford, Ill., in late 1947 to a large crowd -- 1,500 -- at The Coronado theater in Rockford. Lugosi was interviewed by the Rockford Morning Star. The Poe play, which was accompanied by a Lugosi film ("Dracula" was the co-feature in Wisconsin) eventually planned a moves to Minnesota and Michigan. "There are graphics of vintage newspaper ads about Lugosi "Tell Tale Heart" play.

Unfortunately, despite the great start, the play's success declined rapidly. Marlowe, who was notorious for flashy starts and low future cash, had booked obscure theaters and lesser Lugosi co-features, such as "Spooks Run Wild" and "The Return of the Ape Man". Profits disappeared -- it's reported that Marlowe had promised Bela $2,000 a week -- and by early December future showings were cancelled. "No Traveler Returns" writes that on Dec. 10, Lugosi had signed for $1,250 a week to do vaudeville.

In all, it appears that Lugosi performed his "The Tell Tale Heart" show at most 8 times, perhaps a few more. History is murky. As the the above recitation shows, preserved on the Net, he was more than up to the task.